Shakespeare's Tragic SequenceFirst published in 1972. The emphasis of this book is that each of Shakespeare's tragedies demanded its own individual form and that although certain themes run through most of the tragedies, nearly all critics refrain from the attempt to apply external rules to them. The plays are almost always concerned with one person; they end with the death of the hero; the suffering and calamity that befall him are exceptional; and the tragedies include the medieval idea of the reversal of fortune. |
From inside the book
Results 1-5 of 85
Page 13
... man might have given, but which the hero cannot give. He errs, by action or omission; and his error, joining with other causes, brings on him ruin. These words are true of Hamlet and perhaps of Coriolanus, but can they be properly ...
... man might have given, but which the hero cannot give. He errs, by action or omission; and his error, joining with other causes, brings on him ruin. These words are true of Hamlet and perhaps of Coriolanus, but can they be properly ...
Page 15
... man who has turned into a monster' and in the death of Coriolanus is a 'sparagmos of the ritual victim by the whole social group'. There are, of course, fundamental differences between the scapegoat and the tragic hero. The audience ...
... man who has turned into a monster' and in the death of Coriolanus is a 'sparagmos of the ritual victim by the whole social group'. There are, of course, fundamental differences between the scapegoat and the tragic hero. The audience ...
Page 18
... man endowed with the qualities of a poet can expect to reach the age of forty without the black 0x treading on his feet. But a tragic sense of life—~—a sense of tears in mortal things—— does not depend on personal experience; and the so ...
... man endowed with the qualities of a poet can expect to reach the age of forty without the black 0x treading on his feet. But a tragic sense of life—~—a sense of tears in mortal things—— does not depend on personal experience; and the so ...
Page 23
You have reached your viewing limit for this book.
You have reached your viewing limit for this book.
Page 26
You have reached your viewing limit for this book.
You have reached your viewing limit for this book.
Contents
9 | |
11 | |
20 | |
3 Julius Caesar
| 42 |
4 Hamlet
| 55 |
5 Othello
| 93 |
6 King Lear
| 117 |
7 Macbeth
| 142 |
8 Antony and Cleopatra
| 156 |
9 Coriolanus
| 172 |
10 Timon of Athens
| 187 |
Notes
| 197 |
Index | 205 |
Other editions - View all
Common terms and phrases
action Antony Antony and Cleopatra Antony’s argued audience avenger Banquo behaviour Bradley Brutus Caesar Cassius character Claudius Claudius’s Cleopatra Coleridge confesses conflict conscience contrast Cordelia Coriolanus critics death declares deed Desdemona devil difficult dramatist Edgar Elizabethan evil father fear figure final finally find first scene fit flatterers flesh fool Gertrude Ghost Gloucester gods Goneril Guildenstern guilty Hamlet hates hath heart heaven Horatio horror Iago Iago’s imagery images influence jealous Juliet kill King Lear King’s L. C. Knights Laertes Lear’s lovers man’s Menenius merely mind moral mother murder nature night noble Ophelia Othello passion play Plutarch poet Polonius Professor Queen realise reflection regarded revealed revenge Richard Roderigo Romeo Rosencrantz sacrifice says Shakespeare significant soliloquy soul speaks speech spirit suggested suicide tells thee There’s thou thought Timon Timon of Athens Titus Andronicus tragedy tragic hero villain virtue wife Wilson Knight words